^^How can I preface this show.
Nice introduction to kick things off. HTH isn't the best but it's a good run through especially in that slot. I love this morning dew, its got elements from the early early versions as well as moments where its not that far off from a 77 or 85 version. The That's it for the other one segment is a ripper as most were in these years. The rest of the first set has the elegance of 73 jamming mixed with the raw tones of 68. Add to that the fact that the devils really connected well this night. With the exception of a miscue entering the instrumental bid you goodnight coming out of the Alligator sequence the first set is a great example of throwing caution to the wind working out. This band is so subtle in some of their themes and the cues they send each other. This show certainly explores the concept that it sounds like they have done this note for note a thousand time when in fact, well you know. Doin' that Rag kicks ass anytime.
Phil lays down some nice chops on the foxy lady jam and you can hear a few claps from an empty room. Wow, what I wouldn't give to invent a time machine. Of course if I invented it I am sure I could figure out a way to use it to get back what I gave, unless it was not something tangible. Anyone have one they are looking to trade? first notes of Dark Star there is a little extra twang produced by Jerry, just right. This show is on the more mellow side of the raging meter. It rages and all, just in a mellow way. The dead are the only modern band I have ever heard who could be described as raging in a mellow way. By 8 minutes in the space and sound created creates an image not unlike a slightly waving EKG. Flowing continuously, not doing anything violent or drastic, but being monitored closely. And by the 9th minute everything has gone to hell, but in a good way. Around the 15:10
mark or so you can catch that lovelight will be coming up down the road. Phil always seems let the cat out of the bag on lovelights around this time. I love it. Dark Star has a nice peak run near the end as well. Upon the return to the verse of DS Bobby follows Phil and plays an interesting a few interestingly structured chords. The approach to St Stephen is spine tingling, I didn't know whether to run for cover or go on a crime spree. And then wham! St Stephen with a rose.
I am a much bigger fan of elevens from 68 than 69 with a few exceptions...this is one of them. Great intro jam, then phil thummmmmps some big chords and well you know the rest. Jer gets to ripping down the walls. Right before the lyrics begin they make a nice run. Jerry rips the vocals as well. If you listen real closely when they jump back in you can hear bob adding a real slick line. It's a shame he wasn't turned up enough for it to effect the direction on the jam. The flip into Lovelight is so close to perfect. One beat out pretty much, but they still make it just fine. The Lovelight is immense. Up and down, running around, even adding a slow grooved out lead into the second lyric section. The only issue I have with it is Pig stops the jam a few times when it is really going places. I'd imagine it was stuff like that that had really started to irk Jerry by this time. The Lovelight is great, but the jam taking place at 21:00
felt like it was about to explode. It wasn't long before this type of aggressive play was out. It would have been nice to hear of few of them get played out. But wow what a finish.
My oh my...Viola Lee is such a great tune and it is done well here.
Oh, did I mention the sound quality is a five.
Who doesn't love New Tater and Born Cross-Eyed such great tunes from the beginning. Spanish Jam!!!!!!!!!!!!hehehe. Like a little school girl.
A nice little caution jam.